Annual Report

ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2009 – 30 June 2010 North Terrace ADELAIDE SA 5000 www.artgallery.sa.gov.au ISSN 0728-7925 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the seventieth Annual Report of the Art Gallery Board of South Australia for the Gallery’s 129th year, ended 30 June 2010. Michael Abbott QC, Chairman Art Gallery Board 2009–10 Chairman Michael Abbott QC Members Mrs Sue Tweddell (Deputy Chair) (until 13 July 2009) Mr Andrew Gwinnett (Deputy Chair) Emeritus Professor Anne Edwards AO Ms Frances Gerard Mr Philip Speakman (until 20 August 2009) Ms Sandra Sdraulig Mr Peter Ward (until 7 February 2010) Mrs Tracey Whiting Ms Zena Winser (from 11 November 2009) Robert Whitington (from 11 November 2009) 2 TABLE OF CONTENTS Principal Objectives 4 Major Achievements 2009-10 5 Key Challenges Facing the Gallery 8 Major Objectives 2010–11 9 - 10 Resources and Administration 11 - 22 Collections 23 - 29 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 30 Appendix B1 Art Gallery Board 31 Appendix B2 Art Gallery of South Australia Foundation Council and Contemporary 32 Collectors Committee Appendix B3 Art Gallery Organisational Chart 33 Appendix B4 Art Gallery Staff and Volunteers 34 - 35 Appendix C Staff Public Commitments 36 - 38 Appendix D Conservation 39 Appendix E Donors, Funds, Sponsorships 40 - 41 Appendix F Acquisitions 42 - 57 Appendix G Inward Loans 58 - 59 Appendix H Outward Loans 60 - 62 Appendix I Exhibitions and Public Programs 63 - 70 Appendix J Schools Support Services 71 Appendix K Gallery Guide Tour Services 72 - 73 Appendix L Gallery Publications 74 - 75 Appendix M Annual Attendances 76 Appendix N Information Statement 77 - 78 Appendix O Financial Statements 79 - 103 3 PRINCIPAL OBJECTIVES Vision To be a leading art museum in Australia and the Asia Pacific Region which: is highly respected for the quality and display of its collection and exhibitions and its curatorship engages South Australians from all walks of life in the visual arts is a major attraction for interstate and international visitors to South Australia. Objectives The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: To collect heritage and contemporary works of art of aesthetic excellence and historical or regional significance. * To display the collections. * To program temporary exhibitions. * To ensure the preservation and conservation of Gallery collections. To research and evaluate the collections, and to make the collections and documentation accessible to others for the purposes of research and as a basis for teaching and communication. * To document the collections within a central cataloguing system. To provide interpretative information about collection displays and temporary exhibitions and other public programs. * To promote the Gallery’s collections and temporary exhibitions. To ensure that the Gallery’s operations, resources and commercial programs are managed efficiently, responsibly and profitably. To advise the South Australian Government on the allocation of South Australian resources to works of art, art collections, art museums and art associations. These objectives can be summarised as: preservation, research and communication. They are consistent with the objectives of all major art museums and galleries throughout the world. 4 MAJOR ACHIEVEMENTS 2009–10 (Note: Where appropriate, relationship to South Australia’s Strategic Plan is indicated) Community Engagement 480 363 people visited the Gallery, free of charge, to see the permanent collection and exhibitions. 31% of all visitors came from outside the metropolitan Adelaide area: from regional South Australia, interstate or overseas (SASP Objective 1: Growing Prosperity – Tourism industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution). An additional 88 494 people visited the Gallery’s touring exhibitions interstate (SASP Objective 1: Growing Prosperity – Tourism industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – arts activities). A total of 10 924 visitors attended the Gallery’s 100 regular gallery floor-talks, twenty-two special lectures, two forums, eight special tours and three Members/Adult Education Workshops; 6 675 visitors attended the Gallery’s children’s and family programs and events; and, 23 552 school students visited the Gallery as part of the Schools Support Services and 405 teachers received professional development (SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – arts activities). A total of 12 884 visitors undertook tours by the Gallery’s Volunteer Guides. (SASP Objective 1: Growing Prosperity – Tourism industry; SASP Objective 5: Building Communities – Volunteering). There were 8 360 000 hits to the Gallery website. (SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution). Artistic Program The Gallery lent a total of 119 works of art to exhibitions, including major national touring exhibitions (SASP, Objective 1: Growing Prosperity – Tourism Industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural Engagement – arts activity). Six exhibitions were staged at the Gallery: Making Nature: Masters of European Landscape Art; John Brack; Bravura: 21st Century Australian Craft & Design; Before and After Science: 2010 Adelaide Biennial of Australian Art; Reflections of the Lotus: Art from Thailand, Burma, Cambodia and Laos; Candid Camera: Australian Photography 1950s– 1970s (a complete list of exhibitions and public programs is at Appendix I) (SASP Objective 1: Growing Prosperity — Tourism industry; SASP Objective 4: Fostering Creativity and Innovation — Cultural engagement – institution; Cultural engagement – arts activities). Fifteen special collection displays were staged at the Gallery: Artistic Personalities; Fred Williams: Experimental Printmaker; Eric Thake; The Divine Imagination: Spiritual Art in the 20th Century; Contemporary Australian Prints; Ivor Hele: Master Draughtsman; Ex Libris: The printed image and the art of the book; Ian North Photographs; South Australian Living Artists’ Festival; Common Ground: Rethinking the Contemporary Australian landscape; Contemporary Australian and International Art; Shaun Gladwell; Big Mother; Objects in Translation: European sixteenth and seventeenth century earthenware; A tribute to Doreen Reid Nakamarra (SASP Objective 1: Growing Prosperity – Tourism industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution; Cultural engagement – arts activities). 5 The Gallery produced the following publications: Bravura: 21st Century Australian Craft & Design; Before and After Science: 2010 Adelaide Biennial of Australian Art; Reflections of the Lotus: Ceramics of Thailand; Candid Camera: Australian Photography 1950s–1970s; People Colouring book (SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution; Cultural engagement – arts activities). Collection Development 361 works of art were acquired (SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution). Major Australian acquisitions included: paintings by Knut Bull and Louis Buvelot, prints by William Fernyhough, a rare Henry Goldfinch chair, two major Lloyd Rees paintings, a late South Australian landscape by Dorrit Black, paintings by Horace Trenerry and Peter Purves Smith, a drawing by John Brack, lithograph by Will Dyson, etchings by Barbara Hanrahan; twentieth-century photographs, a large-scale sculpture by Patricia Piccinini, sculpture by Ben Armstrong, drawings by Mira Gojak, Ian Friend and Brent Harris; contemporary works by Sue Kneebone, Tom Moore, Darren Siwes, Deborah Pauuwe, Ian North, Daryl Austin and Olga Sankey; major Aboriginal paintings by Nyurapayia Nampitjinpa, Walangkura Napanangka, Mabel Juli, Clinton Nain, etc. (a complete list of acquisitions is at Appendix F) (SASP Objective 1: Growing Prosperity – Tourism industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution; Understanding of Aboriginal culture; SASP Objective 6: Expanding Opportunity – Aboriginal wellbeing). Major international art acquisitions included: Old Master European paintings by Peeter Claes and Peeter Neeffs, etchings by Canaletto, Giandomenica Tiepolo, GB Castiglione and Stefano della Bella, prints by Mortimer Menpes, and a lithograph by Pablo Picasso; a Chelsea Porcelain vase, pair of empire-style Regency vases and a neo-classical silver epergne (a complete list of acquisitions is at Appendix F) (SASP, Objective 1: Growing Prosperity — Tourism industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution; SASP Objective 5: Building Communities – Multiculturalism). Major Asian acquisitions included: a Japanese hanging scroll, a Japanese ornamental screen, an Indonesian Toraja Coffin, errong, eleven India-Indonesia and Europe-Indonesia trade textiles, twenty-nine Kalimantan masks, and four woodcuts on paper by Hodaka Yoshikda (a complete list of acquisitions is at Appendix F) (SASP Objective 1: Growing Prosperity – Tourism industry; SASP Objective 4: Fostering Creativity and Innovation – Cultural engagement – institution; SASP Objective 5: Building Communities – Multiculturalism). Stock-check of the Gallery’s high-value

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